My Fringe experience concluded last night with “Camp Wanatachi” at Dixon Place. This musical sports music, lyrics and book by Natalie Weiss, is directed by Natalie Weiss, and co-stars Natalie Weiss. Weiss is also credited as co-producer, co-sound designer and co-choreographer. It’s fair to say then that she only has herself to blame for the piece’s weakest aspects: While some of the songs are quite good, the storytelling is atrocious. (The sound mix is muddy and the dancing merely adequate, but those are almost expected at a Fringe showcase.)

The show’s website summarizes the plot thus: “Spirit-soaked and hormone-charged, two 13-year-old girls fall in love at Christian summer camp.” Except that “Camp Wanatachi” is more about a few days in the life of a Christian girls camp and deals with several characters. The aforementioned love story takes up only a small portion of the time, and in a completely insane move, Weiss ends the show just when the two girls, Titi (Biet Simpkin) and Jana (Aleque Reid), acknowledge their attraction to each other. It’s like going to a restaurant and leaving after the amuse-bouches have been served, or as if “Psycho” ended after the shower scene.

Titi is the “hormone-charged” one (she’s the camp’s slut, an unsettling proposition considering the girls are supposed to be 13) while Jana is more the “spirit-soaked” kind. But as we know, opposites attract, especially in musicals. Their scenes are the best of the show because the girls get good numbers and share an easy chemistry — Biet has a slinky charm and Reid is excellent at playing awkward.

Unfortunately, there’s more to contend with: a subplot involving counselor Corky (Weiss) and her attraction to hunky Christian counselor Joel (Jonathon Roberts), another with a pair of fetish-loving New York “hobos” inexplicably fiddling with short-wave radios in the woods near the camp. The latter storyline is particularly frustrating because 1. it makes no sense and 2. it wastes Jenny Lee Mitchell, a quirky, underused comedienne who has the potential to be the downtown punk version of Andrea Martin.

All isn’t lost, though. Weiss does have an ear for dialogue (“You better check yourself before you wreck yourself,” Jana tells campmate Daisy). She just needs someone to help her shape it into a coherent story: This is where cowriters and directors usually come in.

Weiss’ songs can also be very catchy, especially as enhanced by Conrad Winslow and Travis Stewart’s clever arrangements — the live eight-piece orchestra features strings, horns and computer, and the synthesized beats are particularly well used. It’s a sound we haven’t heard all that much from new musicals, and I for one would love more.